Process of painting on velvet in oil-colors



(No Model.)

L. FARQUHARSON. Process of Painting on Velvet in Oil Colors.

No. 238,221. Pat ented March 1, l88t.

fiverziarx m lv UNITED STATES PATENT @FFICE.

LIZZIE FARQUHABSON, OF CHICAGO, ILLINOIS.

PROCESS OF PAINTING ON VELVET IN OIL-COLORS.

SPECIFICATION forming part of Letters Patent No. 238,221, dated March 1,1881.

Application filed June 23, 1880. (No model.)

To all whom it may concern:

Be it known that I, LIZZIE FARQUHARSON, of the city of Chicago, in thecounty of Cook and State of Illinois, have invented certain new anduseful Improvements in the Process of Painting on Velvet in Oil-Colorsin Imitation of Needle-Work, of which the following is a specification.

In the accompanying drawings, which form a part of this specification,Figure 1 represents a piece of velvet painted with a design after themanner of my invention, and Fig. 2 is a vertical longitudinal section ofthe same on the line a: as of Fig 1.

Similar letters of reference indicate like parts wherever used.

My invention relates to improvements in painting on velvet and similarfabrics in oil colors designed to imitate needle-work or embroidery, andto be used in ornamenting the borders of piano and table covers,lambrequins, picture-screens, and such cloths and tapestries; and theinvention consists in applying or laying the oil-colors on the pile ofthe velvet in the manner hereinafter described, so as to give theoil-colors a peculiar raised, rigid, or corrugated appearance, the pileof the velvet which is covered by the oil-colors being in some partsdepressed, and in others standing on end and the oil colors raisedthereon, producing an effect much resembling fine embroidery, and givingan extraordinary brilliancy, durability, and appearance of solidity tothe oil-colors, so that they stand out in a kind of relief.

In said drawings, A represents the velvet or fabric upon which thepainting is made, and B B the painted designs. 0 is the body, and c thepile, of the velvet.

In laying the oil-colors on the pile of the velvet I use a small woodenstylus with an egg-shaped end, a pointed spatula or pen, and a veiner,which last consists of a steel needle in the end of a stick or holder.The velvet receives no preparation previous to applying the colors, andno turpentine, benzine, or like substance is employed, either to mixwith the oil-colors or as a previous application to the surface of thevelvet, as the use of such substance is not necessary for the purpose ofdrying the oil-colors when the same are laid on the pile of the velvetin the manner contemplated by my invention, and the oil-colors arecaused to penetrate, mix with, and adhere firmly to the pile of thevelvet by being thoroughly mixed, stirred, and incorporated therewith bythe use of the spatula and veiner, so that when the colors have becomedry it is almost impossible to separate or break off any portion of theoil-colors from the surface of the painting. By avoiding the use ofturpentine and such materials the oil-colors have much greaterelasticity and flexibility, as well as a richer and softer luster,andthe painting is much more durable and serviceable also.

In applying the oil-colors to the pile of the velvet I use the stylus tolay the oil-colors over the outlines of the design, giving it with thefingers a twirling motion in order to properly distribute the oil-colorsover the outline. I then use the spatula and veiner to mix andimpregnate the pile of the velvet with the oilcolors, so that the wholebody or mass of the colors will adhere firmly thereto; and theseinstruments are also used to shape and form the painting, to blend thecolors, and to produce the depressions and ridges or raised portions inthe surface of the painting.

Besides velvets, other similar cloths and fabrics may be used with equalsuccess. They should be chosen of such colors or shades as to make asuitable background for the painting, as the whole surface of the velvetshould receive no painting or preparation preparatory to applying theoil-colors, as the pile of the velvet is more easily operated upon inthe manner described when in its natural state.

I.avoid the use of any instrument so soft as a brush, and generally useall the instruments described in forming different portions of the work.As a general thing the stylus will be found best for rolling theoutlines in the form of a ridge, and the filling in the center with theother tools, according. to the nature of the design.

Having now described my invention and its mode of operation, what 1claim is- 1. The within-described process of painting in oil-colors onvelvet and similar fabrics in imitation of embroidery, which consists inapx plying the oil-colors to the pile of the velvet by means ofsharp-pointed instruments, incorporating it therewith, and forming,blending, and raising the colors into shape and form in accordance Withthe design selected, substantially in the manner described, and for thepurpose set forth.

2. The new article of manufacture described, consisting of a raisedpainting in oil-colors on velvet or similar fabrics in imitation of em-10 broidery, the oil colors being incorporated with and made firmly toadhere to the pile of the velvet or fabric, substantially in the mannerdescribed, and for the purpose set forth.

LIZZIE FARQUHARSON. Witnesses:

EDWARD S. EvARTs, THoMAs G. WINDEs.

